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Full text of "The portraits and caricatures of James McNeill Whistler : an iconography"

90324G1801 



the portraits and caricatures of 
james McNeill whistler 



THE PORTRAITS AND 
CARICATURES OF 

james McNeill whistler 

AN ICONOGRAPHY BY 

A. E. GALLATIN 



WITH TWENTY EXAMPLES 
TEN HITHERTO UNPUBLISHED 



LONDON: JOHN LANE, THE BODLEY HEAD 

NEW YORK! JOHN LANE COMPANY 

TORONTO: BELL & COCKBURN 

MDCCCCXIII 



Copyright, 1913, fo/ Albert Eugene Gallatin 



ACKNOWLEDGMENT 

The advisability of communicating, during the 
preparation of this iconography, with other col- 
lectors, as well as with artists who executed por- 
traits of Whistler, was proved by the considerable 
amount of additional material which was thus put 
at my disposal. 

My grateful acknowledgments are due to Mr. 
Joseph Pennell for reading and annotating my 
manuscript, as well as for other courtesies. My 
frequent references, "Pennells' 'Life,'" are, of 
course, to Mr. and Mrs. Pennell' s "Life of James 
McNeill Whistler" {London and Philadelphia, 
1908, etc.). 

To Mr. Charles L. Freer I am under a debt of 
gratitude for having gone over the first draft of 
my ??ianuscript and for giving me full informa- 
tion regarding several items which are in his col- 
lection. I have also to thank Mr. Freer for permit- 
ting me to reproduce a chalk drawing of Whistler 
by himself, hitherto unpublished. 

I wish also to thank Mr. Howard Mansfield 
and Mr. Edward G. Kennedy for their great kind- 



«fjj /« reading and annotating my manuscript, 
as well as for lending me original drawings for 
reproduction, tfhe dry-point and pencil sketch by 
Boldini, both hitherto unpublished, in Mr. Ken- 
nedy's possession, are of particular interest. I beg 
also to acknowledge the kindness of Mr. Elmer Ad- 
lerandMr.Don C. Seitz in adding numerous items 
to my catalogue. 

T<? Mr. Pickford Waller I am especially in- 
debted for his great kindness in sending me a long 
list of caricatures and other drawings that ap- 
peared in the ephemeral press of England. I only 
regret that as Mr. Waller not infrequently failed 
to note the source from which he obtained his draw- 
ings, as well as other necessary information, but 
a small portion of his notes were available. Mr. 
Waller has in addition sent me an interesting por- 
trait for reproduction. 

I wish to thank H. R. H. Princess Louise, Duch- 
ess of Ar gyle, Sir Hugh Lane, Mr. William Mar- 
chant, Mr. John W. Alexander, Mr. Arthur Kay, 
Mr. FiclorD. Brenner, Mr. Samuel P. Avery, Mr. 
John W. Simpson, Mr. Henry Reinhardt, and 
Mrs. Eugene Meyer, Jr., for giving me informa- 



tion upon certain points, or for lending me un± 
lis hed portraits or caricatures for reproduclion. 

A few of these notes, in very scrappy form, cov- 
ering about thirty items, I published some thirteen 
years ago in the now defuncl" Literary Colleclor." 
tfhe majority of the notes on the self-portraits in oil 
(but not those on No. 2) were printed in '-''Art in 
America "for July, ip/j. 

A. E. G. 



1st September, 191: 



CONTENTS 

PAGE 

INTRODUCTION 1 

I. SELF-PORTRAITS 

A. PAINTINGS 17 

B. ETCHINGS AND DRY-POINTS 21 

C. OTHER MEDIA 23 

II. PORTRAITS BY VARIOUS ARTISTS 

A. PAINTINGS 25 

B. ETCHINGS AND DRY-POINTS 29 

C. PEN AND INK 31 

D. OTHER MEDIA 35 

III. BUSTS AND PLAQUES 41 

IV. CARICATURES 43 

V. PHOTOGRAPHS 49 
INDEX 53 



ILLUSTRATIONS 



WHISTLER. Self-Portrait. Oil. 
Hitherto unfiublished 

WHISTLER. Self-Portrait. Oil. Following page 24 

WHISTLER. Self-Portrait. Oil. Following fiage 24 

W^HISTLER. Self-Portrait. Oil. 

WHISTLER. Self-Portrait. Oil. 

WHISTLER. Self-Portrait. Oil. Following fiage 24 

WHISTLER. Self-Portrait. Oil. Following fiage 24 



Facing fiage 17 



Following fiage 24 
Following fiage 24 



WHISTLER. Self-Portrait. Chalk. 
Hitherto unfiublished 

POYNTER. Portrait of Whistler. 
Pencil. Hitherto unfiublished 



Following page 24 



Facing fiage 35 



FANTIN LATOUR. Portrait of 

Whistler. Pastel. Hitherto unfiublished Facing fiage 36 



BOLDINI. Portrait of Whistler. 
Dry-Point . Hitherto unpublished 

S. STARR. Portrait of Whistler. 
Pen and Ink. Hitherto unpublished 

ALEXANDER. Portrait of Whis- 
tler. Charcoal. 

NICHOLSON. Portrait of Whis- 
tler. Woodcut. 



Following page 39 
Following page 39 
Following page 39 
Following page 39 



C xii J 

GREAVES. Portrait of Whistler. 
Oil. Hitherto unpublished 

BOLD INI. Portrait of Whistler. 
Pencil. Hitherto unfiublished 

"SPY." Caricature of Whistler. 
Crayon. Hitherto unfiublished 

"APE." Caricature of Whistler. 
Oil. Hitherto unfiublished 

BEARD SLEY. Caricature of Whis 
tler. Pen and Ink. 

KEENE. Caricature of Whistler. 
Pen and Ink. 



Following fiage 39 
Following fiage 39 
Following fiage 48 
Following fiage 48 
Following fiage 48 
Following fiage 48 



INTRODUCTION 



INTRODUCTION 

WHISTLER was the author of nu- 
merous portraits of himself, al- 
though he was not as prolific in this re- 
spect as Rembrandt. 1 In the first division 
of this iconography eight such paintings 
are listed, as well as three drawings in 
chalk and five in pen and ink, eight in 
pencil, three etchings and two dry-points. 
Properly enough, six of these eight 
canvases by the greatest artist America 
has produced are owned in the United 
States, which is not to be wondered at, 
America now being the principal magnet 
for important paintings, as well as other 
works of art. Another of the portraits, a 
study, is in Dublin ; the remaining exam- 
ple is in London. 

1 Dr. Bode has catalogued fifty-eight such paint- 
ings; the etched portraits are also very numerous. 



Two of these six paintings owned in 
America are in the unrivalled Charles L. 
Freer collection ( Detroit ) , which has been 
generously donated to the National Gal- 
lery of Art at Washington. 1 These are the 
early, but soundly modelled, " Portrait 
of Whistler with Hat" CO, a stud y of 
the artist's head and shoulders, which the 
Pennells state "it is evident . . . was sug- 
gested by Rembrandt's ' Young Man ' in 
the Louvre," and the half-length portrait 
painted about 1867 [[3]. This latter paint- 
ing, as is noted in the catalogue, Pennells' 
"Life" does not regard as an authentic 
work of the artist. Mr. Freer, on the other 
hand, informs me he is absolutely certain 
that it was painted by Whistler. 

The second portrait in the iconography 
is an early study, executed about i860, 

1 The collection is to remain in Mr. Freer 's posses- 
sion until his death. 



C 3 ] 
which only came to light last spring. It 
shows the artist, whose head and shoul- 
ders only are visible, smoking. Mr. H. R. 
Ickelheimer of New York is the present 
owner. M. Theodore Duret, who viewed 
this portrait in my company in Paris, June, 
191 3, told me that in his opinion the paint- 
ing was unquestionably from Whistler's 
brush. He put the date at about 1 862. Mr. 
Joseph Pennell, to whom I showed a full- 
sized photograph of the portrait a month 
later, declined to express an opinion re- 
garding its authenticity without seeing 
the original. He would place the date, 
judging by the artist's appearance, three 
years earlier than M. Duret. I regard the 
painting as being in all probability a work 
of the master and have therefore cata- 
logued it as such. 

The fourth painting catalogued is the 
half-length portrait formerly owned by 



CO 

the late George McCulloch, an excellent 
example of Whistler's work in portrait- 
ure. It has quite recently come into the 
possession of Mr. Harry Glover Stevens 
of Detroit, Michigan, U.S.A. 

There are two versions of the " Whis- 
tler in His Studio" £5, 6% The first, and 
earlier, is in the Municipal Art Gallery, 
Dublin, while the other is owned by the 
Chicago Art Institute. The earlier version, 
in Dublin, is the subject of much differ- 
ence of opinion. Pennells' " Life" states, 
as is noted in the iconography, that this 
painting was repudiated by the artist. Sir 
Hugh Lane, the Curator of the Municipal 
Art Gallery, Dublin, however, holds an 
entirely different opinion regarding this 
picture, and I have much pleasure in 
quoting from a letter he has written me 
covering his side of the controversy: 1 
1 l?he remarks in brackets are mine. 



C 5 ] 
"The picture we have in Dublin of 
Whistler in his studio is quite well known 
to various neighbours of mine here [[Chel- 
sea] in the artist's lifetime. I am told on 
the best authority that he was asked to sell 
this picture and that he refused, saying 
that he liked it as a sketch, and eventu- 
ally painted Mr. FreshfiekTs picture [[this 
painting is now owned by the Chicago Art 
Institute] from it. It was exhibited at the 
Whistler Memorial Exhibition in London 
with Mr. FreshfiekTs picture, and all the 
artists I know considered it to be much 
finer as a work of art than Mr. Fresh- 
field's more important painting. It has 
also recently been exhibited at the Tate 
Gallery amongst many fine examples of 
the painter's work. It is much lower in 
tones and more broadly painted than Mr. 
FreshfiekTs picture, and the faces of the 
two female models are only sketched in. 



C 6] 

"I understand that this picture with 
many others was seized for debt and sold 
by auction, and afterwards exhibited with 
other unfinished works, which caused a 
law-suit between Whistler and the firm 
of dealers who exhibited them/' 

The two remaining portraits in oil have 
been the cause of some confusion owing 
to the fa6t that they bear the same title, 
" Brown and Gold/' One of these [[7], a 
half-length, is owned by Mr. George W. 
Vanderbilt; the other £8], a full-length, 
is in the possession of Miss Birnie Philip. 
Of the former Leonce Benedite writes: 
" In the warm penumbra of its harmony, 
'brown and gold/ he breathes the inner 
contentment of the satisfied artist. One 
feels that it is painted in a state of happi- 
ness, following the return of approval, so 
unjustly withheld from him in England, 
and painted in the years after his mar- 



C 7 ] 
riage; we can call it the portrait of the 
true Whistler." The latter painting, the 
full-length, before it was repainted, was 
shown at the 1900 Paris Exhibition ; a clue 
to it is preserved in a pen and ink sketch 
made from it by Whistler and owned 
by Mr. Joseph Pennell. It was not photo- 
graphed, nor was it engraved. 

Two or three other portraits of Whis- 
tler by himself are owned by a lady resid- 
ing in London. She does not wish, how- 
ever, to have them catalogued or her name 
mentioned. They are in oil and unfinished. 

According to the Catalogue of the 
Whistler Memorial Exhibition ( page 84 ) 
held at London in 1905, there is a por- 
trait of Whistler in the painting entitled 
" Cremorne Gardens, No. 2." x The figure 
spoken of in this picture as being Whistler 

1 c tkis painting, which measures 25 in. x 5/ in., 
is unfinished. It was formerly owned by Thomas 



C 8 3 
is seen at the right of the canvas, seated 

at a table with several other people. Ap- 
parently it is intended to be the artist, but 
as the face is not even indicated, I have 
not seen how this figure could properly 
be catalogued as a " portrait/' and men- 
tion of it in the iconography has there- 
fore not been made. Mr. Pennell informs 
me that the features were removed when 
the picture was cleaned. 

Coming to the etchings and dry-points, 
we find a difference of opinion regarding 
the identity of the artist seen sketching 
in the plate known as "The Title to 
the French Set/' Thomas's catalogue of 
Whistler's etchings regards this figure 
as being Whistler, as does Wedmore's. 
Pennells' "Life" says, "There was an 
etched title with his portrait, for which 

R. Way, but is now the property of the Metropoli- 
tan Museum of Art, New York. 



C 9 H 
Ernest ^Delannoy], putting on the big 
hat, sat." Mansfield contends that the 
subject is Delannoy and not Whistler. 
The compiler, holding the opinion that it 
unquestionably is a portrait of Whistler, 
has catalogued it as such. There is a sim- 
ilar difference of opinion with regard to 
the identity of the figure seen sketching 
in the etching entitled' 'The Little Pool/' 
These divergent views, being important, 
are quoted in the iconography proper. 
Following these items is a list of the re- 
maining self-portraits, executed in dry- 
point, chalk, pen and ink and pencil. 

Mr. Pickford Waller, it may be men- 
tioned, has in his possession the slightest 
kind of a sketch by Whistler of himself, 
a full-length. Whistler executed it at the 
time Mr. Waller was making a caricature 
of him, as a suggestion to guide him. This 
little scribble — for it is nothing more — 



[ io H 
will be found reproduced in "Books and 
Book-Plates" (London), Vol. iv, No. 3 
( 1903-04). I have not deemed it of suf- 
ficient importance to include in the ico- 
nography. 

Turning to the second division of the 
catalogue, which comprises portraits by 
various artists, we ascertain that Whistler 
was painted by Sir William Boxall, twice 
by Fantin Latour, Walter Greaves (on 
numerous occasions), Thomas R. Way, 
Boldini, Mortimer Menpes and William 
M. Chase. 

The portrait by Sir William Boxall — 
the artist who threatened to resign from 
the Royal Academy in 1872 if Whis- 
tler's famous " Portrait of the Painter's 
Mother" was refused — was painted when 
Whistler was a boy of fourteen. The two 
by Fantin were both included in groups, 
the earlier example in the artist's su- 



C 11 ] 

perb and well-known" Hommage a Dela- 
croix/' the other in a painting exhibited 
in the Salon of 1 865, entitled " Hommage 
a la Verite — le Toast/' The latter paint- 
ing was subsequently destroyed by the 
artist, but not before the head of Whistler 
( as well as those of Vollin and Fantin ) 
had been cut out — it is the one owned 
by the National Gallery of Art in Wash- 
ington. These are excellent portraits of 
the artist and must have pleased Whistler ; 
it is on record, however, that he was far 
from pleased with the portrait by Chase 
and the very striking one by Boldini. 

It is difficult and most problematical to 
get at the truth of the matter with regard 
to the Walter Greaves portraits of Whis- 
tler, of which sixteen paintings and four- 
teen drawings have been listed. I have 
information from reliable sources that 
leads me to believe that someof these por- 



C 12 3 

traits — of which my notes, it would ap- 
pear, cover but a small part — were exe- 
cuted after Whistler's death for obscure 
dealers who were "booming" Greaves, 
a number being painted for the Ameri- 
can market. On the other hand, Greaves 
painted numerous portraits from life, 
many of them possessing decided merits. 
Many of the well-known artists of the 
day executed portraits of Whistler, — in a 
great variety of media, — including Edwin 
Edwards, Helleu, Boldini, Mortimer 
Menpes, George Du Maurier,Fantin La- 
tour, Sir Edward J. Poynter, Maurice 
Greiflfenhagen, Phil May, John W. Alex- 
ander, Thomas R. Way, Rajon and Wil- 
liam Nicholson. Particularly clever and 
charaft eristic in pose are the two dry- 
points and the sketch in pencil by Boldini ; 
amusing, but occasionally in questionable 
taste, is the long series of dry-points by 



[ is D 

Menpes. The sketch by Poynter which 
has been reproduced is of decided inter- 
est, as is the large charcoal drawing by 
Alexander. Remarkably clever also is the 
sketch by Phil May, a very expressive 
draughtsman, who made several other 
drawings of Whistler besides that noted ; 
unfortunately their places of publication 
could not be located. The woodcut in 
colour by Nicholson is the equal of any 
of them : this design was considered by 
Whistler to be one of his best portraits. 
Excellent also is the charcoal drawing 
by Ernest Haskell. 

Following mention of a bust of Whis- 
tler by Boehm, of a carved head by Louis 
B. Zinn and of a plaque by Brenner, 
there comes a long list of caricatures of 
the artist, including the work of "Spy," 
" Ape," LinleySambourne, Bernard Part- 
ridge, Charles Keene, Aubrey Beardsley, 



C 14] 
Max Beerbohm and Walter Crane. The 
most important of these caricatures is the 
dry-point by " Ape," which in reality is an 
excellent portrait, and one strong in char- 
acterization. Brilliant in conception and 
execution is Keene's drawing of Whis- 
tler as Mr. Punch, delivering his lefture 
on art; this drawing ranks high among 
contemporary caricature. Disappointing, 
however, is the design by Beardsley , one 
of the world's greatest masters of black 
and white, and neither is the sketch by 
the inimitable " Max," wittiest of carica- 
turists, quite up to what we might have 
expefted. One or two other caricatures 
by "Max" could not be traced. 

A list of photographic portraits com- 
pletes the catalogue, of which the three 
by Dornac of Paris are by far the most 
interesting, being delightfully intimate 
views of the artist in his studio. 



PORTRAITS AND CARICATURES OF 
WHISTLER 




No. 2 



PORTRAITS AND CARICATURES OF 

WHISTLER 

i 

SELF-PORTRAITS 
a. Paintings 

1. PORTRAIT OF WHISTLER WITH HAT 

Height, 27 in. ; width, 2\j4in. Quarter-length. The head 
is slightly turned to left; over the artist's long hair re- 
poses a large black hat; his coat is brown. Painted about 
1859. Oil on canvas. Signed "Whistler" (lower right- 
hand corner). Shown at Boston [No. 55~\ and Paris 
[No. 1] Memorial Exhibitions, 1904, 1905. Formerly 
owned by the late Samuel P.Avery, Esq. Property of 
National Gallery of Art, Washington (Charles L. Freer 
collection). Reproduced in Pennells' " Life." Also re- 
produced in this book. 

This painting was etched by H. Guerard (etched surface, 
8% in. x 7/4 in.; plate mark, Y2 7 A in. x 8% in.). It was 
engraved on wood by Frederick Juengling for " Scribner's 
Magazine" (New York) .August, 1879 (5% in. x 4<H in.) . 

2. WHISTLER SMOKING 

Height, 10X in.; width, 7% in. Head and shoulders. 
Face, which is turned to left, is seen in three-quarters. A 
straw hat, about which is a grey ribbon, is perched upon 
the artist's long, black, curly hair. The painter wears a 
black coat, and about his neck is a loose black scarf with 
white spots. In the right hand, which is just indicated, 



I 18 ] 

is a cigarette; smoke issues from his mouth. The back- 
ground of the portrait is dark. The face is rather carefully- 
modelled, the rest of the picture freely painted. Painted 
about 1860. Oil on wood. Signed " Whistler" (in red, 
lower right-hand corner) . Reproduced in this book for 
the first time. Property of H. R. Ickelheimer, Esq., New 
York. 

This picture was purchased in June, 1913, from Henry 
Reinhardt, picture-dealer of Paris. It had been bought by 
him a month before from Jacques Seligmann, picture-dealer 
of Paris, who had just purchased it from a French family, 
lam informed that the picture changed hands at least three 
times during the past twenty years. See Introduction to this 
iconography, pages 4 and 5 . 

3. PORTRAIT {attributed to Whistler] 
Height, 28 in.; width, 22 in. Half-length. The artist, 
whose head faces to right, wears a loose black coat and 
a low white collar ; on his head is a round black hat. A 
study executed about 1867. Oil on canvas. Not signed. 
Shown at Whistler exhibition [No. 10] held at Metro- 
politan Museum of Art, New York, in 1 9 1 0. Property of 
National Gallery of Art, Washington (Charles L. Freer 
collection) . Reproduced as frontispiece to catalogue of 
above Metropolitan Museum of Art exhibition. Also 
reproduced in this book. 

PenneHs* "Life" states that this portrait "is most proba- 
bly not genuine," owing to the presence of the white lock of 
hair, which the artist did not possess when a young man. 
Mr. Freer does not hold this opinion ; he is positive that it is 
genuine. 



[ 19 ] 

4. PORTRAIT 

Height, 29/4 in.; width, 21 in. Half-length. The artist, 
whose face is slightly turned to left, wears a grey paint- 
ing jacket and a round hat ; his right hand holds three 
paint-brushes. Oil on canvas. Signed with "butterfly" 
signature, both on painting (at left of canvas) and frame. 
Shown at London Memorial Exhibition [No. 30], 1905. 
Formerly owned by the late George McCulloch, Esq. 
Property of Harry Glover Stevens, Esq., Detroit, Mich- 
igan, U. S. A. Reproduced in Pennells' "Life." Also 
reproduced in this book. 

This painting was etched by Percy Thomas (5 % in. XoHin.) 
for Ralph Thomas's catalogue of Whistlers etchings and 
dry-points {London, 1874). It was etched also by William 
Hole (10 in. x 7/i in .) for " Art Journal" {London), Octo- 
ber, 1897. 

5. WHISTLER IN HIS STUDIO [attributed to Whis- 
tler] 

Height, 23K in.; width, 18 in. Full-length. This is be- 
lieved to be an earlier version of the following item [6]. 
The painting is similar in subject and composition, but 
lower in tone and more broadly painted. Oil on canvas. 
Not signed. Shown at London Memorial Exhibition 
[No. 15] and London Loan collection [No. 17], 1905, 
1912. Property of Municipal Art Gallery, Dublin (Lane 
collection). Reproduced (in colour) in J. E. Phythlan's 
" Fifty Years of Modern Painting" (London, 1908). 
Also reproduced in this book. 

Pennells' "Life" states that this painting was repudiated 
by Whistler. A contrary -view is held by Sir Hugh Lane 



[ 20 ] 

(see Introduction to this iconography, pages 4, 5 and 6) . 7/" 
genuine, as Sir Hugh Lane insists, this is the only case on 
record of Whistler repeating a picture. 

6. WHISTLER IN HIS STUDIO 

Height, 23 in.; width, \7 l A in. Full-length. The artist, 
who wears a white suit, is seen in full-length, standing at 
his easel, with brush in his left hand, the picture having 
been painted in front of a mirror. The interior also con- 
tains two female models, one standing, one seated on a 
sofa. Oil on canvas. Signed with " butterfly " signature 
(at right of canvas) . Shown at London Memorial Exhibi- 
tion [No. 13], 1905. Formerly owned by Douglas Fresh- 
field, Esq. Property of Chicago Art Institute. Reproduced 
in Pennells' "Life." Also reproduced in this book. 

In a letter to Fantin Latour, Whistler stated that this was 
a study for a large picture (which was never painted) , to 
be similar to Fantin' s "Hommage a Delacroix." In it he 
proposed including portraits of Fantin, Albert Moore, him- 
self, the " White Girl" and la Japonaise. Vide Pennells' 
Life." 

7. BROWN AND GOLD 

Height, 25 H in.; width, 18^ in. Half-length. The artist 
is seen with head turned to right ; he is gesticulating with 
left hand. The white lock of hair and monocle are in evi- 
dence, as is the rosette of the Legion of Honour. Oil on 
canvas. Signed with " butterfly " signature (at right of 
canvas). Shown at Boston [No. l]and Paris [No. 29] 
Memorial Exhibitions, 1904, 1905. Property of George 
W. Vanderbilt, Esq., New York. Reproduced in "Mas- 



C 21 ] 

ters in Art" (Boston), December, 1907. Also repro- 
duced in this book. 

8. BROWN AND GOLD 

Full-length. The artist wears a long brown overcoat. 
Shown at Paris Universal Exhibition of 1900 [Amer- 
ican section, No. 108]. Oil on canvas. This portrait was 
subsequently repainted in part. Property of Miss Birnie 
Philip, London. 

JVb fihotografih or engraving of this fiainting exists. See 
JVo. 29, a fien and ink study made from this fior trait. 

b. Etchings and Dry-points 

Note : The following five plates are reproduced in Edward 
G. Kennedy's "The Etched Work of Whistler" (New 
York: The Grolier Club, 1910) . 

9. PORTRAIT 

[Wedmore l] [Mansfield 9] [Kennedy 7] Height, 4H 
in.; width, 3 I / I 6 in. Quarter- length. An early portrait. 
Full-face, bending forward ; the left hand holds a cigar- 
ette. Signed " J. W." Etching. 

A second state contains more shading in the background. 

10. THE TITLE TO THE FRENCH SET 
[Wedmore 20] [Mansfield 25] [Kennedy 25] Height, 
4H in.; width, oU in. Full-length. The artist is seen 
sketching, surrounded by a group often children. Signed 
"J. Whistler." Etching. 

There is some question regarding the identity of the artist, 



certain critics holding he is not Whistler. See Introduction to 
this iconography, pages 8 and 9. 

1 1 . PORTRAIT 

[Wedmore 52] [Mansfield 54] [Kennedy 54] Height, 
9 in,; width, S 15 /^ in. Half-length. The artist, who is 
sketching, bends forward ; on his head is a low-crowned 
hat with broad brim. Signed " Whistler, 1859." Dry- 
point. 

J. second state contains more shading in the hat. 

12. THE LITTLE POOL 

[Wedmore 72] [Mansfield 73] [Kennedy 74] Height, 
4 in.; width, 4H'm. Full-length. The artist is seen seated 
on a bulkhead above the Thames, sketching; barges 
are in the river below. Signed " Whistler, 1861." 
Etching. 

Kennedy describes eight states of this plate, containing many 
important variations. Certain of them contain one other fig- 
ure besides Whistler's, others two. 

Wedmore speaks of the figure sketching as "an artist" 
while Mansfield and Kennedy state it is Percy Thomas. Pen- 
nells' "Life" says it is Whistler, whom it unquestionably 
resembles. 

13. WHISTLER WITH THE WHITE LOCK 

[Wedmore 1 42] [Mansfield 169] [Kennedy 1 72] Height, 
4^in.; width, S}i in. Quarter-length. The artist's head 
and shoulders are lightly etched near the top of the plate ; 
shading in the background. The white lock of hair is con- 
spicuous. Unsigned. Dry-point. 



c 23 : 

c. Other Media 
14. PORTRAIT 

Height, 4K in.; width, 3 in. Quarter- length. Executed 
in 1845 or 1846. Formerly owned by Sir Seymour Haden. 
Property of National Gallery of Art, Washington (Charles 
L. Freer collection). Unpublished. Pencil, with wash. 

15-20. SIX PORTRAITS 

Various sizes. These portraits are contained in six of a 
set of forty drawings, illustrating both indoor and out- 
door scenes, made by Whistler during his Rhine trip 
with Ernest Delannoy. Formerly owned by Sir Seymour 
Haden. Property of National Gallery of Art, Washing- 
ton (Charles L. Freer collection). Unpublished. Pencil. 

21-23. THREE PORTRAITS 

Full-length. Rough sketches made on Whistler's journey 
to Alsace in 1858 with Ernest Delannoy. Reproduced in 
Pennells' "Life" (not first edition). Pen and ink. 

24. PORTRAIT 

Height, \0 l A in.; width, 6 l A in. Quarter-length. Fac- 
ing to right, seen almost in profile. Formerly owned by 
P. and D. Colnaghi and Obach, London. Reproduced in 
A. E. Gallatin's "Whistler's Pastels and Other Modern 
Profiles " (New York and London, 1912,1913). Chalk. 

25. PORTRAIT 

Height, 6H in.; width, 5 l A in. Quarter-length. Full face; 
the artist wears a soft round hat. Property of National 
Gallery of Art, Washington (Charles L. Freer collection) . 



C 2 4 1 
First reproduced in this book. Black and white chalk [on 
brown paper]. 

26. PORTRAIT 

Height, 10 in.; width, 6% in. Half-length. The artist is 
seen leaning over a table, drawing. The head is slightly 
turned to right and the white lock of hair is visible. For- 
merly owned by Thomas Way, Esq. Property of National 
Gallery of Art, Washington (Charles L. Freer collection) . 
Reproduced inPennells' " Life." Black and white chalk. 

27. PORTRAIT 

Full-length. The artist is seen standing, with Mrs. Pat- 
terson and her little dog. A slight sketch done at his home 
in Tite Street, Chelsea, August, 1882. Reproduced in cat- 
alogue of Maggs Brothers, London (No. 295; October, 
1912). Pen and ink and wash. 

28. PORTRAIT 

Height, \K in.; width, 1 H in. Head. Turned slightly to 
right. Property of Mortimer Menpes, Esq. Reproduced 
in "The Studio" (London), January, 1907. Pencil. 

29. PORTRAIT 

Height, 4 in.; width, SK in. Half-length. The artist, 
whose head is slightly turned to the right, wears an over- 
coat. This is a carefully executed drawing made from 
the portrait entitled "Brown and Gold," shown at the 
Paris Universal Exhibition of 1900 (see No. 8). Signed 
with "butterfly" signature. Property of Joseph Pen- 
nell, Esq., London. Reproduced in Pennells' "Life." 
Pen and ink. 




No. 1 



2T 









No. 




No, 4 




No. 




No. 




Xo. 







.Mtm$ \ 




No. 25 



II 
PORTRAITS BY VARIOUS ARTISTS 

a. Paintings 

30. SIR WILLIAM BOXALL 

Quarter-length. Portrait of Whistler as a boy (aet. 14). 
The head is turned to the left ; he wears a wide white 
collar. Exhibited at Royal Academy in 1849. Property 
of Miss Birnie Philip, London. Reproduced in PennenV 
"Life." 

31. FANTIN LATOUR 

Three-quarters length. Contained in the painting entitled 
" Hommage a Delacroix," shown at the Salon of 1 864. 
Whistler is the fifth figure from the left ; he is standing 
and wears a frock coat. Property of the Musee des Arts 
Decoratifs, Paris (Moreau-Nelaton collection). Repro- 
duced in Theodore Duret's " Histoire de J. McN. Whis- 
tler et de son CEuvre" (Paris, 1904). 

32. FANTIN LATOUR 

Height, 18 in. ; width, 14 in. Quarter-length. The artist 
wears an oriental garment, with no collar. Formerly 
owned by the late Samuel P. Avery, Esq. Property of 
National Gallery of Art, Washington (Charles L. Freer 
collection). Reproduced in Christian Brinton's " Mod- 
ern Artists" (New York, 1908). 

Fantin exhibited a /tainting at the Salon of 1865 entitled 
"Hommage a la Verite — le Toast ," 'which he later destroyed; 



C^6 J 

the above head, however, together with those of Vollon and 
Fantin, were preserved. Vide PennelW "Life" (first edi- 
tion, page 131). 

33. WALTER GREAVES 

Half-length. Seated on a bench. Dated 1869. Sold at auc- 
tion (Anderson) , New York, 5 March, 1912. 

34. WALTER GREAVES 

75 l A. in. x 39 in. Full-length. Standing on a bridge. 
Dated 1869. Property of Rosenbach Company, Phila- 
delphia. 

35. WALTER GREAVES 

22 in. x 36 in. Three-quarters length. Leaning against 
a rail. Dated 1869. Property of Rosenbach Company, 
Philadelphia. 

36. WALTER GREAVES 

36 in. x 40 in. Full-length. In Whistler's studio ; the por- 
trait of his mother on an easel. Dated 1869. Property of 
Rosenbach Company, Philadelphia. 

37. WALTER GREAVES 

25 in. x 30^ in. Three-quarters length. Standing. Dated 
1870. Property of Rosenbach Company, Philadelphia. 

38. WALTER GREAVES 

25 in. x 19 in. Three-quarters length. Seated on a bal- 
cony. Dated 1870. Sold at auction (Anderson), New 
York, 1 8 February, 1913. 



[ 27 ] 

39. WALTER GREAVES 

Quarter-length. Dated 1871. Property of Walter T. 
Spencer, Esq., London. 

40. WALTER GREAVES 

Full-length. Standing. Dated 1871. Property of Walter 
T. Spencer, Esq., London. 

41. WALTER GREAVES 

34 in. x 44 in. Three-quarters length. In evening clothes. 
Dated 1871. Property of Rosenbach Company, Phila- 
delphia. 

42. WALTER GREAVES 

26 in. x 31 in. Half-length. In grey frock-coat. Dated 
1871. Property of Rosenbach Company, Philadelphia. 

43. WALTER GREAVES 

23 in. x 36 in. Full-length. Standing in front of a stone 
wall. Dated 1872. Property of Rosenbach Company, 
Philadelphia. 

44. WALTER GREAVES 

28 in. x 36 in. Three-quarters length. Standing, pointing 
to river. Dated 1874. Property of Rosenbach Company, 
Philadelphia. 

45. WALTER GREAVES 

Half-length. Standing. Dated 1 874. Sold at auction (An- 
derson) , New York, 5 March, 1912. 



I 28 3 

46. WALTER GREAVES 

Three-quarters length. Painted on London embankment. 
Dated 1874. Property of John Lane, Esq., London. 

47. WALTER GREAVES 

35 in. x 41 in. Three-quarters length. Standing, pointing 
to river.' Dated 1875. Property of Rosenbach Company, 
Philadelphia. 

48. WALTER GREAVES 

32 in. x 49 in. Seated, legs crossed, painting. Property of 
Rosenbach Company, Philadelphia. 

49. THOMAS R.WAY 

Height, 10in.; width, 12 in. Full-length. Whistler at 
work printing etchings ; press at left, also figure of Thomas 
Way. Property of A. E. Gallatin, Esq., New York. 

Paintedin London in 1880 . Reproduced by lithografihy (4 in. 
x 5 in.) by Thomas R. Way for his "Memories of James 
McNeill Whistler" (London and New York, 1912). 

50. WILLIAM M. CHASE 

Full-length. The artist is seen standing, holding a painter's 
4 ' wand . ' ' Painted in 1886. Property of the artist. Repro- 
duced in "Century Magazine" (New York), June, 
1910. 

This fiainting has been etched by H. Guerard (4/^ in. x 
8 3 /sin.). 

51. GIOVANNI BOLDINI 

Height, 67 in.; width, 37% in. Full-length. Seated on a 



C 29 ] 

chair, facing spectator; right hand raised to head, left 
hand and arm holding overcoat and top-hat. Painted in 
1897. Exhibited at Paris Universal Exhibition of 1900. 
Property of Brooklyn [New York] Institute of Arts and 
Sciences. Reproduced in Theodore Duret's "Histoire de 
J. McN. Whistler et de son CEuvre" (Paris, 1904). 

52. MORTIMER MENPES 

Three-quarters length (nearly) . Seated, facing to left; the 
artist wears a frock coat. Reproduced in Menpes's c 'Whis- 
tler as I Knew Him" (London and New York, 1904). 

b. Etchings and Dry-points 

53. EDWIN EDWARDS 

Height, 4>H in.; width, 6/^ in. The artist is seen sketch- 
ing, seated at Moulsey lock. The title of the plate is 
" Whistler at Moulsey." Etching. 

54. PAUL HELLEU 

Height, 13# in.; width, 10M in. Half-length. Seated, 
resting head on hand; full-face. Reproduced in " Revue 
de L' Art ' ' (Paris) , 1 December, 1903; heliograph meas- 
uring 8}4 in. x 6 l A in. Dry-point. 

55. GIOVANNI BOLDINI 

Height, 7 7 A in.; width, 12 in. Half-length. The plate, 
which was made at the time Boldini was painting Whis- 
tler's portrait (1897), between poses, shows the artist 
asleep upon a sofa. Dry-point [on zinc] . 

Signed by Boldini in fiencil. 



[ SO-] 
56. GIOVANNI BOLDINI 

Height, 1 \U in.; width, 8% in. Quarter- length. Drawn 
on a similar occasion as above item. First reproduced in 
this book. Dry -point [on zinc]. 

The only cofiy in existence is owned by Edward G. Ken- 
nedy, Esq. , JVew York. Like the above portrait, this is also 
signed in pencil by Boldini. 

57,58. MORTIMER MENPES 

Two studies. Three-quarters and quarter-length, on same 

plate. Dry-point. 

This filate and the four following are reproduced in Men- 
pes's " Whistler as I Knew Him " (London and JVew York, 
1904). 

59. MORTIMER MENPES 

Quarter-length. See note under Nos. 57, 58. Dry-point. 

60-67. MORTIMER MENPES 

Plate containing eight studies. Head; quarter- length ; 
three-quarters length. See note under Nos. 5 7, 58. Dry- 
point. 

68, 69. MORTIMER MENPES 

Two studies. Head and quarter-length, on same plate. 

Whistler asleep. See note under Nos. 57, 58. Dry-point. 

70-75. MORTIMER MENPES 
Plate containing six studies. Quarter-length ; half-length ; 
three-quarters length. See note under Nos. 57, 58. Dry- 
point. 



C 31 1 

76. MORTIMER MENPES 
Head. Laughing. Dry-point. 

This plate and the two following were reproduced in * 'Brush 
and Pencil" (Chicago) , August, 1903. 

77. MORTIMER MENPES 

Head. Laughing. See note under No. 76. Dry-point. 

78. MORTIMER MENPES 

Half-length. Profile. See note under No. 76. Dry-point. 

79. MORTIMER MENPES 
Quarter-length. Tongue showing. Dry-point. 

c. Pen and Ink 

80. GEORGE DU MAURIER 

A figure in a drawing, entitled "No Smoking by Art- 
ists in Photographer's Studio. ' ' Reproduced in c * Punch ' ' 
(London), Vol. 39 (i860). 

81. GEORGE DU MAURIER 

Sketch of Whistler, full-length, seated, wearing a cap; 
with Du Maurier and Aleco Ionides. Drawing on pro- 
gramme for private theatricals at London house of Alex- 
ander Ionides (i860). Reproduced in Pennells' "Life" 
(first edition only) . 

82. GEORGE DU MAURIER 

Sketch of Whistler, with Du Maurier and Charles Keene. 
Reproduced in i ' Critic ' ' (New York) , 1 3 November, 
1897. Property of Howard Mansfield, Esq., New York. 



C 32 ] 
83-85. GEORGE DU MAURIER 

Drawing of Whistler (Joe Sibley) as a Paris art student. 
Reproduced in Du Maurier's u Trilby," as originally 
published in ' ' Harper's Magazine ' ' (New York) , March, 
1894. This drawing, at Whistler's instigation, was sup- 
pressed when the novel was issued in book form. His 
portrait, however, appears in two of the illustrations, 
viz. "Taffy a L'Echelle" and " Alias It Used to Be." 

86. FANTIN LATOUR 

Head. Profile, to left. Reproduced in ' ' Gazette des Beaux- 
Arts" (Paris), 1 May, 1905. 

87, 88. SIR EDWARD J. POYNTER 

Height, 7 in. ; width, 9 in. Two sketches showing Whistler 
at work ; on same sheet of paper. Formerly owned by 
Sir Seymour Haden. Property of National Gallery of Art, 
Washington (Charles L. Freer collection) . Unpublished. 

89. ARTIST UNKNOWN 

Head. Reproduced in " Figaro" (Paris), 28 February, 
1885. 

90. MAURICE GREIFFENHAGEN 

Height, 6% in.; width, 8)4 in. Full-length portrait of 
Whistler, engaged in conversation with a group of men. 
Reproduced in "Judy" (London), 16 March, 1887. 

9 1 . S. STARR [not signed'] 

Quarter-length. Head turned to left. Dated 1890. Exe- 
cuted for ' ' The Whirlwind ' ' (London) , in which Whis- 



C 33 ^ 
tier was interested, but not used. Property of Pickford 
Waller, Esq., London. First reproduced in this book. 

Mr. Waller is of the o/iinion that Whistler worked on this 
drawing; the "butterfly ," anyway, afifiears to have been 
affixed by him. 

92, 93. ARTIST UNKNOWN 
Two sketches. Reproduced in "Daily Graphic" (Lon- 
don), 6 April, 1897. 

94. "A.C.G." 

Reproduced in c ' Westminster Budget ' ' (London) , April, 
1897. 

95. CZAJKOWSKI 

Head. Frontispiece to English edition of W. G. Bow- 
doin's " James McNeil Whistler " (New York and Lon- 
don, 1902). 

96. ARTIST UNKNOWN 

Reproduced in " The Star" (London), 18 July, 1903. 

97. ARTIST UNKNOWN 

Quarter-length. Reproduced in " Staats Zeitung " (New 
York), 19 July, 1903. 

9 8. R. LILLIE 

Half-length. Seated, facing left, smoking cigarette. 
Drawn from photograph by London Stereoscopic Com- 
pany. Reproduced in " Daily Chronicle " (London), 20 
July, 1903. 



C 34 3 

99. PHIL MAY 

Full-length portrait of Whistler, engaged in conversation 
with Oscar Wilde. Reproduced in " Phil May's Sketch 
Book" (London, 1903). 

100. ARTIST UNKNOWN 

Head, facing left. Reproduced in " News of the World " 
(London), 19 July, 1903. 

101. ARTIST UNKNOWN 

Reproduced in ' ' Daily News ' ' (London) , 20 July, 1903. 

102. ARTIST UNKNOWN 

Reproduced in " Daily Express" (London), 20 July, 
1903. 

103. ARTIST UNKNOWN 

Reproduced in " Daily Graphic" (London), 20 July, 
1903. 

104. ARTIST UNKNOWN 

Head, facing left. Reproduced in " Weekly Dispatch " 
(London), 19 July, 1903 ; also in " Weekly Budget," 
2 5 July, 1903. 

105. JOSEPH SIMPSON 

Head. Frontispiece to Holbrook Jackson's " All Manner 
of Folk" (London, 1912). 

106. U C. A. M." 

Head and shoulders, facing right. Reproduced in " Sun- 
day Independent ' ' (Dublin) , 6 July, 1913. 







W «rt 



No. 108 



C 35 ] 
d. Other Media 

107. ARTIST UNKNOWN 

Three-quarters length. Portraits of Whistler and his 
brother, Dr. Whistler, as boys (l 84 1) . Formerly owned 
by Miss Emma Palmer. Property of National Gallery of 
Art, Washington (Charles L. Freer collection). Repro- 
duced in Pennells' "Life." Crayon. 

108. SIR EDWARD J. POYNTER 

Height, 6 in.; width, 6 in. Quarter-length. The artist is 
asleep. Property of Mrs. Eugene Meyer, Jr., New York. 
First reproduced in this book. Pencil. 

Drawn from life in a Paris cafe, 27 September, 1856. 

109. SIR EDWARD J. POYNTER 

Height, 7 l A'm.', width, 5% in. The artist wears a broad- 
brimmed hat; his hair hangs in curls over his ears. Exe- 
cuted in 1858. Formerly owned by Sir Seymour Had en. 
Property of National Gallery of Art, Washington (Charles 
L. Freer collection). Unpublished. Pencil. 

110. JOHN W.ALEXANDER 

Height, 33 in.; width, 17/£ in. Three-quarters length. 
Standing, facing to left. Property of A. E. Gallatin, Esq. , 
New York. Reproduced in " Century Magazine " (New 
York), May, 1907. Also reproduced in this book. Char- 
coal. 

Drawn from life in 1886. Besides being signed and dated 
by Alexander, this drawing was autographed on the mar- 
gin by Whistler. 



111. FANTIN LATOUR [attributed to] 

Height, \3)4 in.; width, 9)4 in. Three-quarters length. 
Standing, facing to right. Property of Arthur Kay, Esq., 
Glasgow. First reproduced in this book. Pastel. 

This study, which is more than tinged with caricature, it is 
believed was presented to Whistler by the artist. The faulty 
draughtsmanship, makes one hesitate to attribute it positively 
to Fantin. The pose is similar to the artist' 's portrait of Whis- 
tler in his "Hom?nage a Delacroix" (see JVo. 3l) . 

112. THOMAS R. WAY 

Height, 8 in.; width, 5% in. Quarter-length. Facing to 
right, showing the white lock of hair. Lithograph. 

113. THOMAS R. WAY 

Height, 5H in.; width, SU in. Almost identical with 
above item, but signed U T. R. Way" under butterfly. 
Lithograph. 

A copy of this version is in the British Museum, London. 

114. THOMAS R. WAY 

Half-length. Sketch of Whistler whilst he was retouch- 
ing a stone. Reproduced in Way's " Memories of James 
McNeill Whistler" (London and New York, 1912). 
Crayon. 

115. PAUL RAJON 

Quarter-length. The head, which is slightly turned to left, 
shows the white lock of hair and the monocle. Property 
of Wilfred Buckley, Esq., England. Reproduced as fron- 
tispiece to A. J. Eddy's "Recollections and Impressions 



'Zim 




No. 11 



[ 37 ] 

of James A. McNeill Whistler ' ' (London and New York, 
1903). Charcoal. 

This drawing has been reproduced in photogravure (l 1 H in. 
x 8 Y% in . ) ; the sheets of paper it was printed on vary in size. 

116. WILLIAM NICHOLSON 

Height, 9% in.; width, 8 3 A in. Full-length. Standing. 
Woodcut. 

Only a few proofs were printed from the original block : 
they were hand-coloured, numbered and signed by the artist. 
Reproduced by lithography, in colour, in "New Review" 
(London), Vol. 17. Afterwards included in the artist's 
"Twelve Portraits," 1st series (London, 1899). The litho- 
graphic reproduction contains an inscription, "James Mc- 
Neill Whistler, ' ' which does not appear beneath the original 
woodcut. 

117. WALTER GREAVES 

Height, 10 in.; width, 7 l A in. Full-length. Sold at auc- 
tion (Anderson), New York, 5 March, 1912. Pen and 
ink, with brush work. 

118. WALTER GREAVES 

Height, 12 in.; width, 7 in. Full-length. Sold at auction 
(Anderson) , New York, 5 March, 1912. Pen and ink, 
with brush work. 

119-128. WALTER GREAVES 
Sizes from 8 l A in. x 6 in. to 1 1 % in. x 8 l A in. Ten draw- 
ings. Half-length and three-quarters length. Sold at auc- 
tion (Anderson) , New York, 5 March, 1912. Pencil and 
pen and ink. 



C 38 3 

129. WALTER GREAVES 

Height, 12 in.; width, 9 in. Three-quarters length. Prop- 
erty of A. E. Gallatin, Esq., New York. First reproduced 
in this book. Sketch in oil [on paper]. 

130. GIOVANNI BOLDINI 

Height, 3}i in.; width, 2% in. Full-length. Stooping in 
front of a canvas. Property of Edward G. Kennedy, Esq., 
New York. First reproduced in this book. Pencil. 

131. ARTIST UNKNOWN 

Height, 3 in.; width, 2 in. Quarter-length. The artist 
wears a large hat. Published in "New York Sun" in 
early eighties. Woodcut. 

132. FROM A PHOTOGRAPH 

Full-length. Frontispiece to first edition of Thomas R. 
Way's catalogue of Whistler's lithographs (London, 
1896). Lithographic sketch. 

This drawing, which shows the artist's back, was worked on 
by Whistler. 

133. ERNEST HASKELL 

Quarter-length. Reproduced in u Life" (New York), 
Christmas, 1898; also on a poster used to advertise 
American edition of Whistler's "The Baronet and the 
Butterfly." Property of W. V. Keller, Esq. Charcoal. 

This drawing was reproduced in filatinotyfie (9H in.x 
6 in.) . 



[ 39 J 

134. ERNEST HASKELL 

Head. Reproduced in ' ' Critic ' ' (New York) , September, 
1903. Woodcut. 

135. ERNEST HASKELL 

Half-length. Reproduced in "Bookman" (New York) , 
August, 1899. Charcoal ', with wash. 

136. JULES MAURICE GASP ARD [not signed] 

Height, 20 in. ; width, 1 4 in. Quarter-length. Drawn from 
a photograph by Elliot and Fry, London. Reproduced 
in Elbert Hubbard's "Whistler" (New York, 1902). 
Crayon. 

137-140. CYRUS CUNEO 

Height, 15>£ in.; width, 1 1 in. Four drawings, showing 
Whistler at work in his Paris Academy. Property of 
Cyrus Cuneo, Esq., London. Reproduced in "Century 
Magazine" (New York) , November, 1906. Wash. 

These drawings were made from sketches executed when 
the artist was a student in Whistler' s Academy. 

141. ARTIST UNKNOWN 

Height, 4>6in.; width, 5 x /z in. Quarter- length. There is 
a border, containing six of the artist's paintings. On cover 
of box for the " Whistler Cigar " (Leopold Powell and 
Company, Tampa, Florida) . Chromo- lithograph. 



#f^ 




No. 5 6 



& 




No. 91 




-*& ■■' 



«^ ra .;'S^ 



No. no 



bWH 



^ 



■I 



No. 116 




No. 129 




No. 130 



in 
BUSTS AND PLAQUES 

142. SIR EDGAR BOEHM 

Height, 19)^ in. (including pedestal, 24 in.). Bust. Mod- 
elled in 1872. Formerly owned by Thomas Way, Esq. 
Property of H. R. H. Princess Louise, Duchess of Argyle. 
Reproduced in Way and Dennis's "The Art of James 
McNeill Whistler " (London, 1903). Executed in plaster. 

143. LOUIS BRUNO ZINN 

Head. Used as a decoration, together with another of 
Rembrandt's head, on facade of Frederick Keppel and 
Company's building, New York. Carving in stone. 

Zinn was a fiufiil of Saint Gaudens. 

144. VICTOR DAVID BRENNER 

Height, 2% in.; width, 3% in. Three-quarters length. 
On the obverse is a peacock and the Whistler i ' butter- 
fly/ ' Plaque. 

This filaque, which was cast in bronze, with a few in silver, 
was modelled to commemorate the London Memorial exhibi- 
tion of Whistler's work. The edition was two hundred, half 
this number being struck at the Paris Mint and half at the 
Philadelphia Mint. 



IV 

CARICATURES 

145. "SPY" [LESLIE WARD] 

Height, 1 2 Km.; width, 7% in. Entitled "A Symphony." 
Published in "Vanity Fair" (London), 12 January, 
1878. Lithograph, in colour. 

The drawing for this cartoon is owned by the National Por- 
trait Gallery, London. It measures 13 % in.x8% in. 

146. "SPY" 

Three-quarters length. Standing. Unpublished. Body 
colour. 

This sketch, which is on the back of the above drawing for 
the caricature, is somewhat similar to the cartoon itself. 

147. "SPY" 

Height, 7 l A in.; width, 4X in. Property of New York 
Public Library (S. P. Avery collection) . First reproduced 
in this book. Crayon drawing, with stumping, also touches 
of water-colour. 

148. LINLEY SAMBOURNE 

Figure in a drawing entitled " Whistler yerswsRuskin." 
Reproduced in "Punch " (London) , 7 December, 1 878. 
Pen and ink. 

149. ARTIST UNKNOWN 

Figure in a drawing entitled "The World, the Flesh and 
the Devil " (Whistler and Ruskin) . Reproduced in "The 
Hornet" (London), 4 December, 1878. Pen and ink. 



C 44 H 

150. ARTIST UNKNOWN 

Reproduced in " The Hornet" (London), 15 January, 
1879. Pen and ink. 

151. "A. B." 

Reproduced in ' l The World ' ' (London) , 2 7 November, 
1884. Pen and ink. 

152. J. BERNARD PARTRIDGE 

Reproduced in "Lady's Pictorial" (London), 28 Feb- 
ruary, 1885. Pen and ink. 

153. J. BERNARD PARTRIDGE 

Height, 10& in.; width, 15 in. A drawing entitled "At 
the Whistleries," showing Whistler surrounded by cari- 
catures of his paintings. Reproduced in "Judy" (Lon- 
don), 8 December, 1886. Pen and ink. 

154. "APE" [CARLO PELLEGRINI] 

Height, 75 in.; width, 36 in. Full-length. Property of 
John W. Simpson, Esq. , New York. First reproduced in 
this book. Painting. 

155. "APE" 

Height, 4 in.; width, 1 Vz in. 1883. Property of Pickford 
Waller, Esq., London. Unpublished. Pencil sketch. 

156. "APE" 

Height, 1 3 H in. ; width, 1 0% in. Full-length. Reproduced 
in ' i The Artist ' ' (London) , January, 1908. Dry-point. 

Mr. Harris B. Dick, New York, possesses an impression 



C 45 ^ 

which was printed by Whistler and signed with the "but- 
terfly." 

157. "E. T. R." 

Reproduced in "Punch" (London), 28 June, 1890. Pen 
and ink. 

158. AUBREY BEARDSLEY 

Head and shoulders. Reproduced in " Bon-Mots of Sam- 
uel Foote and Theodore Hook" (London, 1894). Also 
reproduced in this book. Property of Pickford Waller, 
Esq., London. Pen and ink. 

No title is given this caricature ; it is reproduced on fiage 
190 of "Bon-Mots." 

159. WILLIAM ROTHENSTEIN 

Several caricatures. Property of the artist. Unpublished. 

160. S. McMANUS 

Reproduced in "Liko Joko" (London), 20 October, 

1894. Pen and ink. 

161. CHARLES LYALL 

Reproduced in ' ' Pall Mall Gazette ' ' (London) , January, 

1895. Pen and ink. 

162. "H. F." 

A drawing entitled "Mr. Whistler Looking Rather 
Black." Reproduced in "Liko Joko" (London), 30 
March, 1895. Pen and ink. 

163. ARTIST UNKNOWN 

A drawing entitled "Oliver T. Whistler Asking for 



C 46 ] 

Moore." Reproduced in "Liko Joko" (London), 6 
April, 1895. Pen and ink. 

164. ARTIST UNKNOWN 

A drawing entitled "The Warlike Whistler." Repro- 
duced in "Ally Sloper" (London), 6 April, 1895. Pen 
and ink. 

165. GARDNER C. TEALL 

Reproduced in "Chap Book" (Chicago), 1 February, 
1896. Pen and ink. 

166. GARDNER C. TEALL 

Reproduced in "Bookman" (New York), February, 
1901. Pen and ink. 

167. HARPER PENNINGTON 

Entitled "A Certain Master." Reproduced in "Century 
Magazine" (New York), October, 1902. Pen and ink. 

There is another caricature by Harfter Pennington, a head, 
the above being full-length. 

168. "MAX" [MAX BEERBOHM] 

A caricature of Whistler appears in the drawing entitled 
"Dante Gabriel Rossetti in His Back Garden." Repro- 
duced in Beerbohm's "The Poet's Corner" (London 
and New York, 1904). Water-colour. 

169. FINCH MASON 

Height, 14 in.; width, 10 in. Entitled "Jimmy." Prop- 
erty of Walter T. Spencer, Esq., London. Pen and ink. 



C 47 1 

170. FINCH MASON 

Height, 14 in.; width, 10 in. Entitled " A Regular First 
Nighter." Property of Walter T. Spencer, Esq., Lon- 
don. Pen and ink. 

171. CHARLES KEENE 

Height, eVz in.; width, 1 \ l A in. The drawing represents 
Whistler as Mr. Punch delivering the "Ten O'clock" 
lecture. An index piece for i ' Punch ' ' (London) , Vol .89. 
Also reproduced in this book. Property of Howard Mans- 
field, Esq., New York. Pen and ink. 

172. ERNEST HASKELL 

Published in "Critic" (New York), January, 1901. 
Wash drawing. 

173. "KYD" 

Height, 11 X in.; width, 7 in. Full-length figure, in 
black; entitled "Jimmy in Paris." Lithograph \_partly 
coloured by hand~\. 

174. UNSIGNED 

Whistler at his easel. Published in " Evening Sun" (New 
York), 10 January, 1903. Pen and ink. 

175. BINNS 

Height, 7^ in.; width, 5% in. Property of E. G. Ken- 
nedy and Company, New York. Black and white , with 
water-colour. 



[ 48 ] 

176. PICKFORD WALLER 

Reproduced in " Books and Book-Plates ' ' (London), 
Vol. 4, No. 3 (1903-04). Pen and ink. 

177. PICKFORD WALLER 

Height, 7U in.; width, 4>H in. Property of the artist. 
Unpublished. Water-colour. 

178. JOSEPH SIMPSON 

Height, 6U in.; width, 5 in. Reproduced on Japan paper. 
Published in "El Dario" (Mexico City), 4 Novem- 
ber, 1906. Pen and ink. 

179. WALTER CRANE 

Height, 2 7 /i6 in.; width, SH in. Whistler as a butterfly. 
Property of A. E. Gallatin, Esq. , New York. Reproduced 
in Crane's "William Morris to Whistler" (London, 
1911). Pen and ink. 

180. UNSIGNED 

The drawing shows Whistler painting three portraits of 
Lady Meux, simultaneously. Reproduced in u Graphic* ' 
(London) , 2 5 March, 1911. 




Xo. 147 




No. 154 




No. 15! 



V 

PHOTOGRAPHS 

181. SMALL OVAL DAGUERREOTYPE 
Whistler as a boy. Reproduced in Pennells' " Life." 

182. SMALL OVAL PHOTOGRAPH 
Whistler as a young man. Reproduced in Pennells' 
"life." 

183. PHOTOGRAPH BY THE HON. F. LAW- 
LESS 

A group in Whistler's Tite Street Studio, Chelsea. Taken 
in 1881. Reproduced in Pennells' "Life." 

184-187. SNAPSHOTS BY WILLIAM HEINE- 
MANN 

Four in number ; three are full-length, one three-quarters 
length. Reproduced in Pennells' "Life" (first edition 
only) . 

There exist fifteen or twenty other snapshots by William 
Heinemann, taken in various countries. Unpublished. Prop- 
erty of William Heinemann, Esq., London. 

188. PHOTOGRAPH BY DORNAC, PARIS 

Height, 10 in.; width, 8 in. Full-length, standing. Whis- 
tler at his printing-press in the studio, rue Notre-Dame- 
des-Champs, Paris. Reproduced in Pennells' ' ' Life ' ' (not 
first edition) . 

189. PHOTOGRAPH BY DORNAC, PARIS 
Height, 8 in.; width, 10 in. Full-length, seated on sofa. 



c 50 : 

Whistler in his studio, rue Notre-Dame-des-Champs, 
Paris. Reproduced in Pennells' "Life" (first edition 
only) . 

190. PHOTOGRAPH BY DORNAC, PARIS 

Height, 10 in.; width, 8 in. Full-length, seated on chair. 
Whistler in his studio, Notre-Dame-des-Champs, Paris. 

191,192. TWO SNAPSHOTS 

Full-length, seated. Taken with Mortimer Menpes. Re- 
produced in Menpes's "Whistler as I Knew Him" 
(London and New York, 1904) . 

193. SNAPSHOT 

Full-length, standing. Taken with Mortimer Menpes and 
William M. Chase. Reproduced in Menpes's "Whistler 
as I Knew Him" (London and New York, 1904). 

194. PHOTOGRAPH BY H. S. MENDELSSOHN 
(LONDON) 

Height, 5% in.; width, 4 in. Three-quarters length. 
Standing, holding painter's "wand." 

195. PHOTOGRAPH BY H. S. MENDELSSOHN 
(LONDON) 

Height, 7% in.; width 4^ in. Similar to above, but full- 
length. 

196. PHOTOGRAPH 

Three-quarters length. Standing, showing profile. Taken 
in Paris about 1865. Reproduced as frontispiece to How- 
ard Mansfield's "A Descriptive Catalogue of the Etch- 



C 51 ] 

ings and Dry-points of James Abbott McNeill Whistler" 
(Chicago, The Caxton Club, 1909). 

197. PHOTOGRAPH BY OTTO H. BACHER 

Full-length. Taken in Whistler's Tite Street Studio, Chel- 
sea. Reproduced in Bacher's "With Whistler in Ven- 
ice" (New York, 1908). 

198. SNAPSHOT BY W. B. NORTHROP 

Whistler driving in a landau. Reproduced in Northrop 's 
"With Pen and Camera" (London, 1904). 

199. SNAPSHOT BY MORTIMER MENPES 

Full-length. The artist holds a painter's "wand" under 
his arm. Reproduced in "Metropolitan Magazine" 
(New York), September, 1904. 

This photograph was reproduced in photogravure for pre- 
sentation by Whistler. 

200. PHOTOGRAPH BY ELLIOTT AND FRY 
(LONDON) . 

Quarter-length. 

201. PHOTOGRAPH BY LONDON STEREO- 
SCOPIC COMPANY 

Height, 6)4 in.; width, 4 3 4 in. Three-quarters length. 
Seated, smoking a cigarette. 

This photographwas etched by Robert Kastor (5 % in. x 4 in.) . 

202. PHOTOGRAPH 

Quarter-length. Seated at table, facing left, chin on hand. 
Reproduced in "Herald" (New York), 18 July, 1903. 



INDEX 



To Artists' and Photographers' Names 
The numerals refer to pages 



Alexander, John W., 35. 
"Ape" (Pellegrini), 44. 
"B.,A.," 44. 
Bacher, OttoH., 51. 
Beardsley, Aubrey, 45. 
Beerbohm, Max 

("Max"), 46. 
Binns, 47. 

Boehm, Sir Edgar, 41. 
Boldini, Giovanni, 28, 29, 

30, 38. 
Boxhall, Sir William, 25. 
Brenner, Victor D., 41. 
Chase, William M., 28. 
Crane, Walter, 48. 
Cuneo, Cyrus, 39. . 
Czajkowski, 33. 
Dornac, 49, 50. [32. 

Du Maurier, George, 31, 
Edwards, Edwin, 29. 
Elliot and Fry, 51. 
"F.,H.,"45. 
"G., A. C.,"33. 
Gaspard, J. M.,39. 
Greaves, Walter, 26, 27, 

28, 37, 38. [32. 

Greiffenhagen, Maurice, 
Guerard, H., 17, 28. 
Haskell, Ernest, 38, 39, 47. 
Heinemann, William, 49. 
Helleu, Paul, 29. 
Hole, W T illiam, 19. 
Juengling, Frederick, 17. 
Kastor, Robert, 51. 
Keene, Charles, 47. 



"Kyd," 47. 

Latour, Fantin, 25, 32, 36. 
Lawless, Hon. F., 49. 
Lillie, R., 33. 
Lyall, Charles, 45. 
"M.,C. A., "34. 
Mason, Finch, 46, 47. 
"Max," 46. 
May, Phil, 34. 
McManus, S., 45. 
Mendelssohn, H. S., 50. 
Menpes, Mortimer, 29, 30, 

31,51. 
Nicholson, William, 37. 
Northrop, W. B., 51. 
Partridge, Bernard J., 44. [44. 
Pellegrini, Carlo ( ' ' Ape " ) , 
Pennington, Harper, 46. [35. 
Poynter, Sir Edward J., 32, 
"R.,E. T.,"45. 
Rajon, Paul, 36. 
Rothenstein, William, 45. 
Sambourne, Linley, 43. 
Simpson, Joseph, 34, 48. 

Spy ' ' (Leslie Ward) , 43 . 
Starr, S., 32. 

Stereoscopic Company, 51. 
Teall, Gardner C, 46. 
Thomas, Percy, 19. 
Waller, Pickford, 48. 
Ward, Leslie ("Spy"), 43. 
Way, Thomas R., 28, 36. 
Whistler, James McNeill, 17, 

18, 19, 20, 21, 22, 23, 24. 
Zinn, Louis B., 41. 



FIVE HUNDRED COPIES PRINTED BY D. B. 
UPDIKE, THE MERRYMOUNT PRESS, BOSTON, 
U.S.A., OCTOBER, 1913. THE FIRST FIFTY 
COPIES PRINTED ON HAND-MADE PAPER, 
NUMBERED AND SIGNED BY THE AUTHOR 



BY THE SAME AUTHOR 

Whistler's Pastels and Other Modern Profiles. New 
edition, enlarged. 

Contents: Whistler: The Pastels, Chalk Drawings and 
Water-Colours ; Ernest Haskell ; Two Exhibitions of the In- 
ternational Society; Zorn; WTnslow Homer ; "Max," Fred- 
erick C. Frieseke; Everett Shinn. 

With numerous filates, including hitherto unpublished de- 
signs by Whistler. 400 cofiies firinted at the Merrymount 
Press. Price $3.00 net, or 10s. 6d. net. 

EXTRACTS FROM REVIEWS OF FIRST EDITION 

Whistler collectors and amateurs of other modern masters will be 
anxious to possess a copy of the small limited edition of Mr. A. E. 
Gallatin's exquisite brochure. . . . Mr. Gallatin, need one say, has an 
uncommon talent for crisp comment, for catching the essential quality 
of a thing of art in a brief, sensitive phrase. It is remarkable to con- 
centrate such a variety of skilled characterization of artists so diverse 
in so few — some fifty — pages. Mr. Richard Le Gallienne in The In- 
ternational. 

Mr. Gallatin is always a welcome essayist, not only in his genial and 
enthusiastic style, but in his capacity for finding much interest in the 
byways and less frequented paths of artistic achievement. His is the 
pen appreciative that finds either a new and admirable phase to admire 
in the work of a much-known artist, or that discovers a less-known 
artist outright and allows us to share in the fruits of the discovery. 
His criticism is selective to a degree — even captious at times — with 
the fortunate result that such gleanings in the field of art as he chooses 
to present to the public are always worthy of the public's most polite 
attention. . . . For short and distinctly illuminating essays on the dis- 
criminating appreciation of unsuspected flashes of genius these scatter- 
ing notes make an enjoyable bit of reading. Mr. Charles Matlack Price 
in Arts and Decoration. 

Again Mr. Gallatin has given us a little volume of short essays, in- 
timate, delightfully written and charmingly presented. . . . The author 

[over 



has the rare gift of being able to say enough and not too much, of being 
brief without being fragmentary ; his essays are sketches, deftly made, 
telling and individual. Miss Leila Mechlin in Art and Progress. 

This little book is printed with all possible delicacy and fineness, and 
is a thoroughly tasteful example of typography. Its reproductions of 
pastels, water-colors, and chalk drawings by Whistler, and of a few 
pictures by Winslow Homer and others, are almost beyond praise in 
their execution. Mr. Gallatin's discussion of the relative values of these 
pictures and predominant qualities in the methods of the artists thus 
represented is sound and interesting. The Outlook. 

In "Whistler's Pastels and Other Modern Profiles," the author, A. E. 
Gallatin, has produced another pleasant little volume of art essays, 
which join with tho3e of his previous authorship in combining authority 
of statement, sympathy of understanding, and grace of presentation. 
Mr. Gallatin has won a unique niche for himself in the pantheon of 
art criticism, and it is always a pleasure to call attention (at too rare 
intervals) to his publications. Mr. Curtis Lublin in Town and Country. 

Mr. Gallatin is a writer who has achieved the art of saying something 
pertinent in a short space, and saying it well. ... A crisp, piquant style. 
. . . Illuminative and always happily expressed reviews. ... A copi- 
ous series of well-executed plates, many from originals never before 
reproduced, add much to the charm of this attractive little volume. 
Connoisseur . 

London : John Lane, The Bodley Head 
New York: John Lane Company